Déjà Review: this review was first published in February 2010 and the recording is still available.
Sir Arthur Sullivan (1842-1900)
Ivanhoe – romantic opera in 3 acts (1890-91)
BBC National Orchestra of Wales/David Lloyd-Jones
rec. BBC Hoddinott Hall, Cardiff, Wales, 24-28 June 2009. DDD
Chandos CHAN 10578 (3) [3 CDs: 59 + 52 + 54]
Perhaps it is amazing that we have had to wait so long for the first professional recording of Sullivan’s only grand opera. All the more so wen it played for 155 consecutive performances in 1891 and later went touring with the Carl Rosa Opera Company. The English Opera House was built expressly for it and yet this facet of British heritage has been neglected and largely forgotten until now. We have to thank the Sir Arthur Sullivan Society’s sponsors for making this expensive recording possible and Chandos for taking the initiative to mount such a worthwhile production.
The legendary Ivanhoe came to us from the Waverley novels of Sir Walter Scott in 1819. It was such a great favourite in Victorian times that its appearance in the theatre was certain. There have been two previous amateur recordings on disc (Pearl) and these appeared in 1974 and 1989; the first a live performance by Michael Thomas and a studio one by the Prince Consort. Although the latter gave a better chance of evaluating Sullivan’s score, there were nuances, themes and textures that now shine and provide a different perspective. David Lloyd-Jones must be congratulated for the energetic pace he sets, never rushed but always advancing in a purposeful way. This has made all the difference to the way this kind of recording is perceived.
In the first scene, Sturgis the librettist, has to introduce the characters and background before the plot can develop. Consequently the score’s opening section contains much extended recitative that cannot fully reveal Sullivan’s skill as a composer. We are being introduced to motifs which cleverly weave in and out of the work, sometimes later appearing quite subtly. From Act II onwards both the action and music warms up to powerful crescendos that excite the emotions and varied means of expression. Bright brass fanfares give a true air of pageantry.
The singers provide a polished performance, sing superbly and support each other admirably. Special mention should be made of Janice Watson with sincerity of portrayal and effortless top notes; Toby Spence with his strength of delivery and powerful presence; and Peter Rose for warmth of tone and clear diction. In Janice and Toby’s Act 1 Scene 2 lyrical duet, the balance is superb. The chorus is fine and adds considerable weight to the opera. What has made all the difference in this recording is the impact that is added by the meaningful phrasing of the vocal lines and absence of bland characterisation. The passages in Act I Scene 1 make more sense in expert hands and one can now understand the effects Sullivan was striving to achieve in his score.
Generally, I like the fact that the orchestra is quite forward to allow all layers of orchestration to come across and yet does not unduly mask the singers. However, in the second and third CDs there are times where there seems to be a different balance with the orchestra – more recessed – and sometimes the first and second violins are nearly lost. This said, it does not detract from one’s enjoyment.
Two excellent booklet essays by William Parry and Martin Yates unveil the fascinating background of the Victorian English Opera movement and provide an analysis of Sullivan’s score to help give a wider understanding to the music. I notice that a BBC R3 logo is shown, and this cheers me. For too long the establishment has turned its back on the rich scores of 19th century British composers. Ivanhoe should have been a central work to the 2000 Proms when Sullivan’s centenary took place. We owe it to musicians like Sir Charles Mackerras, Ronald Corp and David Lloyd-Jones to remind us of our previous loss in this genre.
When this recording was planned it was to have been conducted by Richard Hickox who sadly died a year before the recording was to take place and to whom it is dedicated. Thankfully, David Lloyd-Jones picked up the baton and has made an excellent job of providing an interpretation that is sure to please the harshest of critics.
The English Opera House that premiered Ivanhoe still stands, now the Palace Theatre in Cambridge Circus and owned by Andrew Lloyd Webber. I was surprised to see neither his name nor that of the Arts Council heading the subscription lists: this is the sort of venture they should surely be promoting.
Raymond J Walker
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Cast List:
Neal Davies (baritone) – Richard Cœur-de-Lion;
Stephen Gadd (baritone) – Prince John;
James Rutherford (bass-baritone) – Sir Brian de Bois-Guilbert;
Peter Wedd (tenor) – Maurice de Bracy;
Peter Rose (bass) – Cedric the Saxon;
Toby Spence (tenor) – Wilfred, Knight of Ivanhoe;
Matthew Brook (bass-baritone) – Friar Tuck;
Leigh Melrose (baritone) – Isaac, the Jew of York;
Andrew Staples (tenor) – Locksley/The Squire;
Janice Watson (soprano) – The Lady Rowena;
Catherine Wyn-Rogers (mezzo) – Ulrica;
Geraldine McGreevy (soprano) – Rebecca;
Knights and Ladies, Attendants, Saxons, Youths – Adrian Partington Singers
Dedication: To the late Richard Hickox who took the enthusiastic initiative to record Sir Arthur Sullivan’s Ivanhoe and in whose memory this project has now been brought to completion by his friends.
